Despite a lack of Harry Potter-like sales and the absence of my name on celebrity A-lists, I've still managed to publish two critically acclaimed books.

That's yesterday’s news.

In 2015, in order for me to get another deal, an agent must submit my book pre-reviewed and pre-publicized.

Recently, filmmaker Michael Nirenberg, best known for his Hustler magazine documentary, Back Issues, asked if he could read my just-completed novel, Bobby in Naziland. The book is about growing up in Brooklyn in the 1950s and 60s, in the aftermath of World War II and in the shadow of the Holocaust.

Nirenberg liked it enough to interview me for The Huffington Post. It’s Bobby in Naziland’s first taste of publicity.

Thus begins the long journey to publication. Glad you’re along for the ride. Read More

Ever since YouTube achieved global dominance, book trailers have become de rigueur for every author, from Nobel laureates, like Mario Vargas Llosa, to self-published scribblers who give away their e-books on Amazon.

A well-done trailer can create awareness that a book exists and can attract media attention, which can lead to… more media attention, which can be helpful if you've written a book that's worth reading.

The Pornographer’s Daughter, by Kristin Battista-Frazee, is a memoir that vividly depicts the trauma and chaos of growing up with a father who was a sex-club owner and a major distributor of Deep Throat, the fellatio flick that changed everything.

To promote The Pornographer’s Daughter—and her September 26 panel discussion about pornography’s impact on pop culture (in which I’ll be participating), at the Strand, in New York City—Kristin has released the above trailer, starring David Koechner, best known as Todd Packer on The Office and Champ Kind in Anchorman and Anchorman 2.

Koechner plays two roles in the trailer: himself and a character named Gerald “T-Bones” Tibbons, an obnoxious reporter who interviews Kristen about The Pornographer’s Daughter even though he hasn’t read it and thinks it’s a filthy book, like Fifty Shades of Grey.

Kristin holds her own against both incarnations of this bona fide comic heavyweight. And maybe the trailer will persuade you to venture out to the Strand to see our porn panel, which also includes Eric Danville, author of The Complete Linda Lovelace, and will be moderated by Dr. Belisa Vranich, author of the self-help book Get a Grip.

In the meantime, for your edification, please contrast and compare The Pornographer’s Daughter trailer with my own trailer, below, Erich von Pauli on Beaver Street: Episode 1—there are four episodes altogether—starring Paul Slimak as renegade Nazi Erich von Pauli. Shot on a budget of approximately £1, a few months before Beaver Street was published in the U.K., the video features Agnes Herrmann’s voiceover and Mary Lyn Maiscott’s performance of the Beaver Street theme song (with apologies to Ray Davies and the Kinks).

The main setting of Bobby in Naziland, East 17th Street, in Flatbush, as it looks today.

One of the things I'm going to do at Bloomsday on Beaver Street is read from Bobby in Naziland, the novel I'm in the process of fine-tuning. It's going to be a short reading, about 1600 words that will include the opening pages of the first chapter--just enough to give people a sense of the book's flavor and the voice I've used to portray "an adult consciousness channeling the thoughts and emotions of a seven year old," as I describe it in the prologue.

The book, I'm sure, will be of particular interest to anybody who's familiar with Flatbush, the Brooklyn neighborhood that Bobby in Naziland is set in, especially if they happened to have lived there in the 1950s and '60s, and think they might "know" some of the characters. And I'm sure that readers will derive a great deal of pleasure from my vision of a Brooklyn that no longer exists, a provincial burb filled with goyim and Jews, Auschwitz survivors and army veterans who fought the Nazis, a place where "World War II lingered like a mass hallucination on East 17th Street and large swaths of the surrounding borough."

What I’m not sure of is what I’m going to do with the book when I’m completely finished with it. The publishing industry, which never has functioned in a rational way, has changed so much in the past decade, that I don’t know if it makes sense to go with a traditional publisher (assuming I can find one) or to self-publish. The Internet is full of stories by and about authors, many of whom have successfully published with traditional publishers, who are now struggling with this same question. There are as many self-publishing success stories as there are stories of failure and unmitigated despair. For a writer like me, who’s had some success with traditional publishing but has not produced the blockbuster that publishers demand, there are no easy answers. The more I read, the more confused I get.

I can tell you this much: For the past two years I’ve worked as hard at promoting Beaver Street as I’ve ever worked at anything. I’ve gotten the consistently excellent reviews and the high profile mentions that theoretically sell books. But until I can get those Harry Potter-like sales, it’s unlikely that a traditional publisher will send a bushel (or even a cupful) of cash my way.

So, all I can do for now is spend this Memorial Day weekend putting the finishing touches on Bobby in Naziland, and banish from my mind all that other stuff. The correct answer to my question will present itself when it’s good and ready to do so. As it always does. Read More

I've been meaning to write something about Gene Gregorits since I read his book Dog Days a couple of months ago, and thoroughly enjoyed it. It's a slice-of-life novel that goes nowhere in particular, except from Baltimore to Harrisburg, Pennsylvania, as the alcoholic, cat-loving narrator takes you down a well-trod path of self-destruction, with the energy of Gregorits's prose driving the narrative forward, despite the lack of anything resembling a conventional plot. This is a book written by a man who's spent a lot of time locked in a room, cranking out millions of words in the course of developing an original voice.

That Gregorits self-published Dog Days under his Monastrell Books imprint, and has turned himself inside out trying to promote it, tells you all you need to know about the state of mainstream publishing these days: If you're going to write something genuinely original and not easily categorized, you’re wasting your time. The publishing industry does not want to know you.

I don’t know if Gregorits made an effort to sell this book to a mainstream publisher, but if he did, what they told him were variations on, “We really enjoyed reading Dog Days but we don’t know how to publish it, so we’re going to pass.” Which means, in the eyes of the publishing world, no matter how good a writer Gregorits is, he’s not a major celebrity with his own TV show, and it’s going to be difficult to promote a book like Dog Days without such a “platform.”

So, Gregorits brought out Dog Days himself, got some publicity on Vice.com, and sold a few books. This infused him with hope. He thought that an interview on a high-profile Website might lead somewhere. But these days, nothing in the writing biz seems to lead anywhere, except oblivion, and anything that doesn’t lead to oblivion is the exception that proves the rule.

Gregorits, who was embittered to begin with—bitterness is what fuels his writing—became even more embittered. He became something rare in the literary firmament: a writer who doesn’t give a fuck what anybody in the biz thinks of him, who doesn’t care whom he pisses off or what bridges he burns.

This is refreshing.

I’ll leave you with a recent post from Gregorits’s Facebook page that neatly sums up the view from underground, written by a man who has allowed himself to feel too much:

Trying to put a press kit together. I had a Princeton pussyboy acting as an “agent” last winter, but he never did a fucking thing so I told him to go fuck his mother. One of the most important things he promised to take care of was a decent looking press kit, and here I am trying to cobble together various reviews, interviews, etc., to show around to an industry that I don’t give a damn about. All time wasted. I’d rather be telemarketing: there’s an end to that dirty business, and a point.

I don’t want to be part of the feeding frenzy. I’m fucking good at what I do. Period. Fuck this PR bullshit. I could simply hack off a piece of my head, or an arm or a leg or something, take off a finger... quick, spiritually transforming, primal.

Or I could sit here mouse-clicking, jacking myself off all day like a baboon... endless, spiritually debilitating, superficial.

So, here it is, two years to the day that I flew to London to begin the Beaver Street promotional campaign. And what am I doing two years later? Still promoting the damn book. As if to commemorate this anniversary, an interview has popped up on a British website run by Morgen Bailey. In the course of our low-key conversation about the writing life and my career, which took place several months ago, Morgen asked me, "How much marketing do you do?"

Today my answer seems especially relevant: "The marketing and promotion are the hardest parts of writing a book because you have to do it every day, and if you’re lucky it goes on forever."

To which I’d now like to add, “Amen.”

So, before I move on to the next phase of my day, I’ll leave you with a couple of more quotes from the interview which, with any luck at all, might inspire you—especially the aspiring-writer types among you—to read the whole thing, and maybe even pick up a copy of one (or both) of my books.

“Do you manage to write every day, or ever suffer from writer’s block?” Morgen asked.

“The best writing advice I ever got was, ‘Keep a notebook and write in it every day.’ I don’t believe in writer’s block. If you’re stuck, then write anything, even gibberish. And keep doing it. Eventually, the words will flow.”

“What advice would you give aspiring writers?” she asked.

“Don’t listen to what anybody, especially so-called ‘experts,’ tells you about your work because nobody knows what they’re talking about. And never give up.”

Before Hurricane Sandy plunged me into 104 hours of pre-industrial living, and a certain election restored the tiniest glimmer of hope in American democracy's ability to function, I was, as I recall, writing about the vagaries of the book business.

On the British site Review 31, a critic that one of my more eloquent defenders described as "a tyro reviewer with a political ax to grind" had subjected Beaver Street to its first hatchet job. What I never got around to talking about is the upside of having your book trashed in an inaccurate and inherently dishonest manner: It sparked an online debate that ended up bringing more attention to Beaver Street than another rave review would have. It's the kind of debate that you just don’t see often enough these days--one that demonstrates the passion for books that still exists in this age of social media.

Also, the day the power came back on, a far more friendly British site, Morgen Bailey’s Writing Blog, posted an essay I wrote a few months ago titled “My Book Promotion Philosophy.” The gist of that philosophy can be boiled down to one sentence: “Talk to anybody who wants to talk to you about your book for as long as they want to talk about it, and go anywhere people are interested in your work.”

In other words, I’m happy to report that the Beaver Street Autumn Offensive, though suspended for a week due to inclement weather, remains an ongoing operation. Read More

Erich von Pauli Addresses the British Empire on the “Beaver Street” Issue, the first of many Beaver Street promotional videos, is scheduled to be officially released in early August; it’s “unlisted” on YouTube. But I’m offering a sneak preview to the readers of this blog.

The video is intended as parody. If you find Nazi humor offensive, please don't watch it. But if you enjoyed The Producers, Mel Brooks's 1968 film, then Erich von Pauli might be your cup of tea. I encourage you to watch it in the full-screen mode. Read More

"Rather like re-reading a favorite detective story ... though you know how the story's going to end, you still wind up willing the events to unfold differently." —David Thompson, Mojo magazine

"You feel like you are inside The Dakota with John Lennon and Yoko Ono." —The Huffington Post

"Captures with disturbing immediacy the pressure of being a celebrity … flirts with brilliance." —J.R. Jones, Chicago Reader

"Robert Rosen's gripping account of Lennon's five-year seclusion in the Dakota building makes it impossible any longer to agree with the cozy popular image of him during this period as a devoted father and bread-baking domesticated househusband. This is a portrait of ... the twilight of an idol." —Allan Jones, Uncut magazine

"After reading this book I felt an affinity for Lennon; his life with all its torments, joys and pains was real to me." —Sydney L. Murray, Vision magazine

"An obsessive, corrosive, unforgettable account of Lennon and his menage at the Dakota. Even readers who never bought the air-brushed image of Lennon the benign father and house-husband are likely to experience powerful cognitive dissonance as they read Rosen's chronicle of weirdness, in which the tragic and the absurd are inextricably mixed." —John Wilson, Christianity Today

"What makes this book valuable is the sense that Rosen is providing as honest a characterization as possible—honest enough so that, in spite of Lennon's quirks and foibles, his genius ultimately shines through." —B.A. Nilsson, Metroland

"We become privy to first-hand knowledge about Lennon's final days which has never before seen the light of day ... this book makes for engrossing reading." —Steve Wide, Beat magazine (Australia)

"One of the most fascinating insights in Robert Rosen's book is that John knew that he, in the last half of the Seventies, exercised his greatest power to the extent that he wasn't seen; he was beyond success; he had achieved such fame that his five-year silence hummed more loudly than, say, any of Paul McCartney's appearances in People magazine." —Brian Murphy, Oakland University Journal

Praise for Beaver Street

"Beaver Street is an amazing glimpse into the adult industry." —Stoya

"Enormously entertaining ... Beaver Street captures the aroma of pornography, bottles it, and gives it so much class you could put it up there with Dior or Chanel." –Jamie Maclean, editor, Erotic Review

"Whatever twisted ... fantasy you might've had, you can bet that Rosen once brought it to life in print." —Ben Myers, Bizarre

"Shocking … evocative … entertaining.… A rich account that adds considerable depth and texture to any understanding of how the pornography industry worked." —Patrick Glen, H-Net